Vacations for me have included time to paint plein aire whether I am in San Antonio, northern New Mexico or on the Monterey Peninsula. Painting plein aire literally means of or relating to painting in outdoor daylight.
I frequently complete a quick watercolor sketch on location that appeals to me for whatever reason. These small works take about 30 minutes to paint and are simple starting points. Some examples of this method are depicted here.
Junipera Serra at Carmel Mission
Waller Creek Falls at UT
Las Parras de Abiquiu
If you examine these paintings, you will notice there is limited glazing. The brushstrokes are rendered with a sable flat brush, maximizing control and the white of the paper. They are simple, yet often complex in the forms they depict.
Generally speaking, there is nothing more exciting to me than chasing the fog on the California coast, painting fast to capture the light, or perched on a downed tree in the cold November wind of a blue norther. I am a very stubborn person. When it comes to having time for my art, I am going to paint on the day set aside for such, no matter what. As a consequence, I have experience with frozen watercolor paint, and on a different trip, had the wind pick up my palette and bathe me and my wool poncho in burnt sienna paint! It is funny to me now, but not at all at the time....such are the hazards of defying freezing temps. On the other hand, I have had to deal with a major cricket swarm when I was committed to paint in the summer heat of 100 degrees+ outside Burnet, TX. I must say, I would rather take on the cold wind, any time!
Cottonwoods on the Chalma
I consider this painting my 'battle stripes' for facing the hazards of working outdoors in less than 20 degree weather (this is when I took the burnt sienna bath...!).
Painting on location is a challenge for many reasons. Number one is the continuously changing light. Thanks to artist Tony van Haslett, whose workshop I attended in 1996, I learned the value of creating a black and white shadow sketch on site before beginning the actual painting. I have also learned to document the vista by making reference photographs from various angles, as well as close-up views. This is for the possibility of finishing the work in the wind- and pest-free environment of my studio.
The Lighthouse at Los Pinos, Pacific Grove
The lighthouse was in deep shadow in early afternoon due to the windswept cypresses. I made a quick shadow sketch before beginning this work to record the effect of the fading light. I really liked the drama and the energy in the treebranches. For me, it was all about the trees!
The Queen of Missions, San Antonio
This is one painting that was a struggle in chasing the light and shadow, on an overcast January day. I didn't make a shadow sketch in this case...and I wrestled with it for hours as a result. To top it off, I was asked to leave by the park ranger, as they were closing for the day. Nothing like being unceremoniously thrown out...and being frustrated, to boot...!
Big Red Rock at Abiquiu
Ghost Ranch Butte
Cottonwoods on the Chalma
I consider this painting my 'battle stripes' for facing the hazards of working outdoors in less than 20 degree weather (this is when I took the burnt sienna bath...!).
Painting on location is a challenge for many reasons. Number one is the continuously changing light. Thanks to artist Tony van Haslett, whose workshop I attended in 1996, I learned the value of creating a black and white shadow sketch on site before beginning the actual painting. I have also learned to document the vista by making reference photographs from various angles, as well as close-up views. This is for the possibility of finishing the work in the wind- and pest-free environment of my studio.
The Lighthouse at Los Pinos, Pacific Grove
The lighthouse was in deep shadow in early afternoon due to the windswept cypresses. I made a quick shadow sketch before beginning this work to record the effect of the fading light. I really liked the drama and the energy in the treebranches. For me, it was all about the trees!
The Queen of Missions, San Antonio
This is one painting that was a struggle in chasing the light and shadow, on an overcast January day. I didn't make a shadow sketch in this case...and I wrestled with it for hours as a result. To top it off, I was asked to leave by the park ranger, as they were closing for the day. Nothing like being unceremoniously thrown out...and being frustrated, to boot...!
Big Red Rock at Abiquiu
Ghost Ranch Butte
Galisteo Inn
These three paintings, I feel, are some of the best work I've produced in the field. I love the red earth with the changing robin's egg blue sky, and the play of the shadows. When painting plein aire, decisions have to be made quickly due to the fading light, which is determinedly marching towards sundown. I really consider working in this manner to be the ultimate mental exercise in creative problem-solving. It's challenging...but when it works, it's so satisfying...!
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